Free Shipping On All Domestic Orders Over $49.99

Free shipping on domestic orders will be sent in the form of USPS Media Mail.

Any domestic order within the continental USA containing audio hardware will automatically be upgraded to ship via UPS Ground, free of charge, unless an expedited service has already been selected.

USPS Media Mail

This shipping method is a service provided by USPS that may take up to 14 postal days to deliver, although average delivery period is 2-8 days.

UPS Ground

On any domestic order within the continental USA containing audio equipment, we will expedite your free shipping method to UPS Ground. This service will deliver within 1-6 business days; Monday through Friday only. No UPS delivery is available on Saturday or Sunday.

461 Ocean Boulevard (Discontinued)

Eric Clapton's solo career truly caught fire on his 1974 release 461 Ocean Boulevard. The album is best remembered for his hit version of Bob Marley's I Shot The Sheriff, but it's also an album on which emotions run high, especially on two Clapton originals, the prayerful Give Me Strength and the pleading Let It Grow. Following a dark period of reclusiveness and a battle with drug addiction, 461 Ocean Boulevard was a powerful comeback for Clapton. Reissued here on Vinyl LP by Universal Records.

The Studio Album Collection

This impressive eight-piece, vinyl only box set brings together all of Eric Clapton's solo studio albums from his time with the Polydor/RSO label, spanning the period 1971-1980. Each album has been faithfully replicated and pressed on 180g vinyl and two of them, Eric Clapton - Eric Clapton and Derek and The Dominos - Layla And Other Assorted Love Songs, have been re-mastered for this release.

Eric Clapton (1970)1. Slunky2. Bad Boy3. Lonesome and A Long Way From Home4. After Midnight5. Easy Now6. Blues Power7. Bottle of Red Wine8. Lovin' You Lovin' Me9. Told You For the Last Time10. Don't Know Why11. Let It Rain

Derek & The Dominos / Layla and Other Songs (2LP) (1970)1. I Looked Away2. Bell Bottom Blues3. Keep On Growing4. Nobody Knows You When You're Down and Out5. I Am Yours6. Anyday7. Key To the Highway8. Tell the Truth9. Why Does Love Got To Be So Sad?10. Have You Ever Loved A Woman11.Little Wing12. It's Too Late13. Layla14. Thorn Tree In the Garden

Slowhand (1977)1. Cocaine2. Wonderful Tonight3. Lay Down Sally4. Next Time You See Her5. We're All the Way6. The Core7. May You Never8. Mean Old Frisco9. Peaches and Diesel

Backless (1978)1. Walk Out In the Rain2. Watch Out For Lucy3. I'll Make Love To you Anytime4. Roll It5. Tell Me that you Love Me6. If I Don't Be there By Morning7. Early In the Morning8. Promises9. Golden Ring10. Tulsa time

I Still Do

Music legend Eric Clapton has reunited with famed producer Glyn Johns for his forthcoming 23rd studio album I Still Do,set for release on May 20, 2016 on his Bushbranch Records/Surfdog Records. Clapton and Johns - who has also produced albums for The Eagles, The Rolling Stones, Led Zeppelin and The Who - most famously worked together on Clapton's iconic Slowhand album, which is RIAA-certified 3x-platinum and topped charts globally. The 12-track record includes some original songs written by Clapton. This album follows his last release, the 2014 chart-topping Eric Clapton & Friends: The Breeze, An Appreciation of JJ Cale.

1. Alabama Woman Blues2. Can't Let You Do It3. I Will Be There4. Spiral5. Catch The Blues6. Cypress Grove7. Little Man, You've Had a Busy Day8. Stones In My Passway9. I Dreamed I Saw St. Augustine10. I'll Be Alright11. Somebody's Knockin'12. I'll Be Seeing You

The Live Album Collection

Following the release of Eric Clapton's Studio Album Collection, Universal Music now presents The Live Album Collection, a vinyl box of four classic Eric Clapton concerts.

The box is a 6 LP set and mirrors the design of the previous set with the drawer and outer slipcase. The following albums are included, pressed on 180 Gram vinyl: Derek & The Dominos in Concert (Derek & The Dominos - 1973), Eric Clapton's Rainbow Concert (1973), E. C. Was Here (1975) and Just One Night (1980).

Derek & The Dominos In ConcertLP 11. Why Does Love Got To Be So Sad?2. Got To Get Better In A Little While3. Let It Rain4. Presence Of the Lord

LP 21. Tell the Truth2. Bottle of Red Wine3. Roll It Over4. Blues Power / Have You Ever Loved A Woman

Unplugged

Eric Clapton's Unplugged was responsible for making acoustic-based music, and unplugged albums in particular, a hot trend in the early '90s. Clapton's concert was not only one of the finest Unplugged episodes, but was also some of the most genuine, heartfelt music the guitarist has ever committed to tape.

The album sold more than 10 million copies in the U.S. and won several Grammy Awards, including Album Of The Year.

Live In San Diego (with Special Guest JJ Cale)

Eric Clapton's Live in San Diego With Special Guest JJ Cale is a live album from the 2007 tour featuring JJ Cale, Doyle Bramhall II, Robert Cray, Derek Trucks and more. Almost 2 hours of music including previously unreleased versions of Layla, Tell The Truth, Cocaine and Crossroads.

Recorded at Clapton's March 15, 2007 performance at the iPayOne Center in San Diego, CA, this concert was part of a world tour that was much loved by Clapton fans and featured a stellar band that included guitarists Derek Trucks (now of the Tedeschi Trucks band) and Doyle Bramhall II. The two-hour San Diego concert was a highlight of the tour as it featured JJ Cale as a special guest on five tracks (including "After Midnight" and "Cocaine"), as well as Robert Cray on the final song of the record, "Crossroads."

After successfully covering several JJ Cale songs over his career, Clapton finally collaborated with Cale in 2006 on the original album Road to Escondido. At the time, Clapton said "This is the realization of what may have been my last ambition, to work with the man whose music has inspired me for as long as I can remember." So it is fitting that one year later, Cale joined Clapton on stage for this special concert where they performed five songs together - underlining the mutual respect the two musicians had for each other.

The concert features a superb set list from across Eric's career. Notably, it includes songs from Eric's classic Derek and the Dominos album Layla, with Derek Trucks playing many of Duane Allman's original guitar parts.

Clapton's career, spanning more than 50 years, has resulted in 18 Grammy Awards and the distinct honor of being the only triple inductee into the Rock & Roll Hall of Fame.

Royal Albert Hall 2005

Import

180 Gram Audiophile Vinyl

Printed Innersleeves

Insert

Iconic Classic Rock heroes Jack Bruce, Eric Clapton and Ginger Baker teamed up in 2005 for a short string of Cream reunion shows in the UK's nest concert hall, Royal Albert Hall. After their late '60s split, the band had not been playing together, except for a one-off 1993 gig at their induction to the Rock & Roll Hall of Fame.

Cream had not only remained a legendary band, but at the time it seemed extremely unlikely that they would ever play live again. Therefore these live recordings are a heaven's send to Rock fans all over the world, those who are eager to hear these monsters of Rock back in action. And many fans and critics agreed that the band sounded better than before. A worthy coda to their brief but impactful career.

This package includes three 180 gram audiophile slabs of vinyl, packed in printed innersleeves and an insert

Give Me Strength: The '74/'75 Recordings

In early 1974, after a three-year absence that followed Eric Clapton's major success with Derek and the Dominos' seminal album Layla And Other Assorted Love Songs, which sealed his stature as one of rock's most revered guitarists, a rejuvenated and musically refreshed Clapton stepped into the recording studio and staged a massive resurgence with his 1974/1975 trilogy of albums-461 Ocean Boulevard, which featured his first No. 1 hit single "I Shot The Sheriff," There's One In Every Crowd and the live E.C. Was Here-standing as one of the most remarkable rebirths in rock's history. Those albums decisively cemented the guitarist as both a musical and commercial force, while successfully staking out an entirely new set of creative challenges.

Riding With The King

When it comes to the greatest rockin'bluesmen in history, at the top of theelectrified traditional list is B.B. King;at the top of the contemporary list isEric Clapton. Riding With The Kingbrings the two living legends togetherfor an entire album for the first time.When it comes to rockin' blues, RidingWith The King is as great as it willever get.

GUEST ARTISTS:

Nathan East, bass

Steve Gadd, drums

Andy Fairweather-Low, guitar

Jimmie Vaughan, guitar

Doyle Bramhall, guitar, backing vocals

Tim Carmon, organ

Susannah Melvoin, backing vocals

Wendy Melvoin, backing vocals

Joe Sample, keyboards

PRODUCERS:

Eric Clapton

Simon Climie

1. Riding With the King2. Ten Long Years3. Key To the Highway4. Marry You5. Three O'Clock Blues6. Help the Poor7. I Wanna Be8. Worried Life Blues9. Days of Old10. When My Heart Beats Like A Hammer11. Hold On, I'm Comin'12. Come Rain or Come Shine

King Bee

Import

King Bee is the final release by Blues legend Muddy Waters (born in 1913 as McKinley Morganfield), originally released in 1981 and produced by Johnny Winter. Due to Waters' failing health, the LP was recorded in only three days in May of 1980. The LP includes newly recorded Muddy Waters classics, such as I'm A King Bee, Champagne & Reefer, Sad Sad Day and (My Eyes) Keep Me In Trouble. Around the time of the album's release, Waters hit the road with a new band as much as his slowly declining health allowed him to.

By the end of 1981, he was diagnosed with lung cancer and had to have part of his lung removed. Still, in 1982 a new tour was booked but an increasing number of performances had to be canceled. And after having made a surprise appearance at an Eric Clapton concert in Miami that Summer, Waters found out the cancer had returned as he was coughing blood. Sadly, his body wasn't strong enough for another operation. On April 30, 1983 McKinley Morganfield died of a heart attack. Five years later he was posthumously inducted into the Rock And Roll Hall Of Fame. Amongst his admirers are Buddy Guy, The Rolling Stones, Rory Gallagher, John Mayall and Steve Winwood.

I Get Evil

Import

Albert King, the velvet bulldozer, was one third of the 'three kings of guitar' along with B.B and Freddie, although given he was 6'4' and weighed 250lbs he probably amounted to a little more. His stature as a man was reflected in his musicianship and his guitar style influenced the likes of Mick Taylor, Eric Clapton, Stevie Ray Vaughan and Derek Trucks.

LP11. Let's Have A Natural Ball2. What Can I Do To Change Your Mind?3. I Get Evil4. Had You Told It Like It Was (It Wouldn't Be Like It Is)5. This Morning (Instrumental)6. I Walked All Night Long7. Don't Throw Your Love On Me So Strong8. Travelin' To California9. I've Made Nights By Myself10. This Funny Feeling11. Ooh-ee Baby12. Dyna Flow (Instrumental)

LP21. Bad Luck Blues2. Be On Your Merry Way3. Why Are You So Mean To Me?4. Ooh-ee Baby (Single Version)5. Need You By My Side6. The Time Has Come7. Blues At Sunrise8. Old Blue Ribbon9. I Get Evil (Single Version)10. What Can I Do to Change Your Mind?

Behind The Sun

Produced by Phil Collins and featuring guest appearances by Lindsey Buckingham and Steve Lukather, 1985's Behind the Sun was the follow-up to Eric Clapton's Warner Bros. debut, Money and Cigarettes, which was his first to fall below gold-records status. Features the titles Forever Man and See What Love Can Do.

Pilgrim

Eric Clapton has metamorphosed from tie-dyed guitar god for a mostly male congregation to Armani-clad crooner and chart-certified ladies' man, yet it misses the point to focus on that transition without considering '90s forays into blues (on From The Cradle, his brilliant 1994 live-in-the-studio homage), techno, and the silky contemporary R&B of Change The World. Pilgrim, his first studio album of new songs since Journeyman, reflects all these facets in his most ambitious, and certainly darkest solo project. Its title isn't casual: These are elliptical meditations on the ravages of time, as preoccupied with matters of the spirit as affairs of the heart. My Father's Eyes opens the song cycle with allusions to the traumatic death of toddler son Conor (the inspiration for '92's poignant Tears In Heaven), while the title song adopts the fevered, falsetto vocal style of Curtis Mayfield to riveting effect. Coproducer Simon Climie sculpts electronic orchestrations and favors clipped synth rhythms, while Clapton himself largely eschews his once dominant, climactic electric solos for restrained but potent acoustic filigree, staccato riffs, and fluid rhythm work, letting loose with a rougher, more biting edge on the squalling She's Gone. --Sam Surtherland

Layla (Awaiting Stock)

Ranked 115/500 On Rolling Stone Magazine's List Of The 500 Greatest Albums Of All Time.

Eric Clapton and Duane Allman in the Same Band for the Only Time: Derek and the Dominos' Layla a Timeless Batch of Fire-Pot Blues, Poignant Gospel, Searing Rock, and Lustful Emotion

Mastered from the Original Master Tapes and Pressed at RTI: Mobile Fidelity 180g 2LP of Layla Is the Definitive-Sounding Analog Edition, Presents Music With Immersive Detail and Realism

The reputation of Derek and the Dominos' Layla and Other Assorted Love Songs, their lone record, precedes it. Eric Clapton performing in the studio with Duane Allman, Bobby Whitlock, Carl Radle, and more for the only time. A batch of fire-pot blues, poignant gospel, and searing rock - all birthed from the leader's insatiable lust for his friend George Harrison's wife. Now, experience it all, and one of the most famous guitar solos and codas in history, in unsurpassed sound courtesy of this quintessential Mobile Fidelity reissue.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 2LP set exposes the brilliance of Tom Dowd's original production and the scope of the virtuoso musicians' playing. You've never been closer to the aching vocals, stinging leads, tormented emotions, or wowing intensity that grace every track. Clapton's tones emerge with unprecedented soulfulness. Afforded their own space in the mix, Allman's slide-guitar passages crackle with urgency. All-important sonic components such as soundstaging, imaging, and dynamics transport you to the actual event. Mobile Fidelity's analog version testifies on behalf of why fans deemed Clapton god.

Then, of course, there's the title track - crowned the 27th greatest song of all time by Rolling Stone. What to say about the outro - arguably the most famous, passionately penetrating, visceral, double-edged guitar solo in history. Clapton's strings weeping with longing, hope, regret, unrequited love. It deserves the best-possible sonic platform, and receives it here, on a pressing that brings Slowhand's every finger moment into great relief. Get inside Clapton's head, burrow into the conflicted emotions fluttering in his heart as he pines for his another man's wife, and in the process, produces an album that forever lives in the souls of anyone who's ever loved and lost.

Clapton's pained yearning permeates everything here. Works such as the swampy Tell the Truth, the pleading Why Does Love Got to Be So Sad?, and blues-drenched Have You Ever Loved a Woman? attest to his raw-nerve discomfort, guilt, and desire. He leaves teardrops on the microphone stand and blood on the floor, singing and playing as if his life depends on it and if, by some miracle, the music will serve as both a confessional and apology to Harrison. It's all magnified by Clapton achieving a spiritual and sonic oneness with his band, which matches his high-stakes precision with a rolling, tumbling looseness.

Allman adds firepower and achieves a still-unrivaled simpatico bond with Clapton, but each participant soars. Consider: The call-and-response, Sam and Dave-derived vocal exchanges between Whitlock and Clapton. Rich, creamy, Southern-stoked blends of R&B, blues, and soul. Vibrant tapestries in which the pianos, bass, guitars, and voices explode with ravishing fervor, naturalism, and desperation. Indeed, maybe a combo this great was only intended one shot in the studio. Perhaps the paralyzing degree of potency on display here, and the musicianship that remains the standard by which any blues-rock is judged, is meant to be preserved as one standalone record. Whatever the case, this is the analog version to own.

This title is not eligible for discount.

1. I Looked Away 2. Bell Bottom Blues3. Keep on Growing 4. Nobody Knows You When You're Down and Out 5. I Am Yours 6. Anyday 7. Key to the Highway 8. Tell the Truth 9. Why Does Love Got to Be So Sad? 10. Have You Ever Loved a Woman 11. Little Wing 12. It's Too Late 13. Layla 14. Thorn Tree in the Garden

Slowhand: 35th Anniversary

Eric Clapton has fashioned albums in many different styles and with many different themes, yet few have the sense of oneness that pervades Slowhand. Slowhand was recorded at Olympic Studios in South West London in May 1977 and was produced by Glyn Johns. Released in November 1977, Slowhand was the most successful album of Clapton's '70s studio recordings. It reached No. 2 on the Billboard chart where it stayed for five weeks, spending a total of 74 weeks on the American album chart.

Slowhand features Wonderful Tonight', Lay Down Sally, and Cocaine - songs that are still heard regularly on radio and at Eric Clapton's live shows. So long after its release is a great recommendation and testimony to its place in Clapton's canon. The album includes cover versions of songs written by some of his favorite songwriters (JJ Cale, John Martyn, Don Williams, Arthur Crudup) along with original compositions by Eric Clapton.

1. Cocaine 2. Wonderful Tonight 3. Lay Down Sally 4. Next Time You See Her 5. We're All The Way 6. The Core 7. May You Never 8. Mean Old Frisco 9. Peaches And Diesel

The Road To Escondido

The 2-LP Set Is Pressed At R.T.I. On 180-gram High-Performance Vinyl

After years of admiring each other'smusical masterworks, guitar great J.J.Cale and three-time Rock and Roll Hallof Famer, 16-time Grammy®winner EricClaptonhave teamed up for the firsttime to create an original album together, The Road To Escondido. The resulting hybrid sound defies being labeled,but instead finds influence across thespectrum of blues, rock, country andfolk. The songs are warm and rich, withdeep flowing rhythms, yet use an economy of words to express much.

In a true collaboration,Cale (whose songs "After Midnight" and "Cocaine"Clapton had previously covered) and Clapton jointlyproduced and recorded the album, each playing andsinging on the tracks. Cale wrote 11 of the songs,Clapton wrote "Three Little Girls," John Mayerwrote "Hard To Thrill" and the duo cover the bluesclassic "Sporting Life Blues." Among the numerousguest artists are Mayer, Taj Mahal, Derek Trucks,Doyle Bramhall II, Albert Lee, and the late BillyPreston, who donated his classic keyboard talentsthroughout the album.

LP 11. Danger2. Heads In Georgia3. Missing Person4. When This War Is Over5. Sporting Life Blues6. Dead End Road7. It's Easy

LP 21. Hard To Thrill2. Anyway The Wind Blows 3. Three Little Girls4. Don't Cry Sister5. Last Will And Testament6. Who Am I Telling You?7. Ride The River

Ten Years After

A Premium RTI Pressing, From The Original U.K. Mono Masters

Ten Years After's self-titled debut hit the British blues scene with the subtlety and precision of a wrecking ball in 1967, serving notice that what had once been confined to steamy haunts in London was now there for the world to hear. And by the time the band electrified half a million hippies at Woodstock two years later, the world was roaring its approval. Cut live with vocals overdubbed later, Ten Years After is an impressive debut, showing off a tight band steeped not only in blues, but rockabilly, jazz, folk and even occasionally psychedelia. They rival Cream on a powerful cover of "Spoonful," which sports a heavy rhythm drive also evident on their extended jam version of "Help Me" that builds and builds to stratospheric heights. The latter allows Alvin Lee to cut loose with the fast licks for which he would become best known, but he was also capable of subtler, more impressionistic soloing on a stellar remake of the Blues Project's "I Can't Keep From Crying, Sometimes." If those three aren't enough evidence of the band's ability, then a spruced-up "I Want to Know," first done by Eric Clapton and the Powerhouse on the legendary What's Shakin' comp (also reissued by Sundazed), certainly seals the deal. But even at this early stage, Ten Years After was no cover act - throwing originals like the Robert Johnson-inspired "Love Until I Die," the country acoustic blues of "Don't Want You Woman" and the swingin' boogie of "Feel It for Me" into the mix. It was no one-man show, either - as organist Chick Churchill takes the lead on "Adventures of a Young Organ" and buttresses "Losing the Dogs" with some rollicking Jerry Lee Lewis piano. And beneath it all, there was the metronomic telepathy of the Ric Lee/Leo Lyons rhythm section. The best way to hear this classic album is in its punchier mono mix, available on vinyl for the first time in 50 years and faithfully packaged with all of the original iridescent psychedelic cover art intact.

Now Sundazed proudly presents the searing guitar of Alvin Lee & Chick Churchill's haunting organ textures as they were meant to be heard, from the original U.K. MONO masters and pressed on premium RTI vinyl!

1. I Want To Know 2. I Can't Keep From Crying, Sometimes3. Adventures Of A Young Organ4. Spoonful5. Losing The Dogs6. Feel It For Me7. Love Until I Die8. Don't Want You, Woman9. Help Me

Blues of Desperation (Awaiting Repress)

GRAMMY-nominated blues-rock guitar icon Joe Bonamassa announces his 20160solo album, Blues of Desperation (J&R Adventures). Like his previous solo disc, 2014's Top 10 Billboard hit Different Shades of Blue, this record features all-original material, and it sees the maverick superstar guitarist, singer and songwriter tossing away the rule book as he continues to reinvent and redefine the blues-rock genre like no other artist working today.

I want people to hear my evolution as a blues-rock musician, says Bonamassa, somebody who isn't resting on accomplishments and who is always pushing forward and thinking about how music can evolve and stay relevant.

The writing sessions for Blues of Desperation took Bonamassa back to Nashville, where he'd composed Different Shades of Blue, to work with some of Music City's top tunesmiths, people like James House, Tom Hambridge, Jeffrey Steele, Jerry Flowers and Gary Nicholson.

These are some of the best guys in the business, Bonamassa raves. Lyrically, you'll hear the proverbial trains, mountains, valleys and other blues references about heartbreak and loneliness but there are also some poignant moments about getting away from the stressful, crazy demands of life and losing yourself with your special someone. I think anybody will be able to relate.

Of his decade-long collaboration with Shirley, Bonamassa says, I can explain our relationship with one word - 'trust.' I completely trust in Kevin and his musical promptings. He pushes my musical ability by challenging me to not just rest on my laurels or settle for 'good.' He expects more out of the other musicians as well and will not hold back when he sees us falling back into our usual routine.

Which sometimes calls for unorthodox measures, says Shirley, who admits that his idea of augmenting Bonamassa's usual recording band with second drummer Morrow was engineered to ruffle Joe's feathers.

I wanted him to work a little harder, like in his early years, he says, so I brought in an additional drummer, just to throw the cat amongst the pigeons. Of the results, Shirley raves, Recording 'Blues of Desperation' is one of the most exciting recording projects I've done. What a joyful noise we made!

Blues of Desperation is Bonamassa's most powerfully diverse and boldly realized album yet, with the material ranging from the gutsy, gritty blues call to arms of This Train (Joe's guitar is set to rude throughout) to the elegant yet emotionally shattering ballad What I've Known for a Very Long Time to the soul-nourishing, acoustic-based Americana of The Valley Runs Low, on which Bonamassa's voice rises up majestically to meet Barnes, McRae and Tippins in gospel-like rapture. And then there's the bleary, tequila-soaked Drive, dripping with the kind of raw, wicked and unsettling sensuality that could make David Lynch green with envy.

Throughout the record, Bonamassa's epic guitar playing conjures up stirring benedictions and explosive exorcisms of sound. No Good Place For the Lonely features some of the guitarist's most cauterizing licks yet, and the walloping title track is a white-knuckled, six-string thrill ride guaranteed to jolt the senses. Guitar fans everywhere (like those who recently voted Bonamassa Best Blues Guitarist in Guitar World magazine by an overwhelming margin) will consider Blues of Desperation a treasure trove of axe riches.

There are some long solos on this record and even some mini-jams in the middle of a track where the band would just jive and crank it out, he says. [During those jams], we do a tip of the hat to Beck and Clapton from the '70s. I think guitar nerds and music fans like myself will love it.

Packed with unparalleled musicianship and teeming with the most enthralling collection of songs in Bonamassa's career, Blues of Desperation is guaranteed to knock out critics and fans alike. By exceeding his own vertiginously high artistic goals, Bonamassa is bound to shatter all other expectations with this record and reach new audiences - no mean feat when you continue his astonishing track record of hits now includes 15 #1 Billboard Blues Albums (more than any other artist in history). 2014's Different Shades of Blue debuted at #8 on Billboard's Top 200 Chart, making it his highest charting album, his first top 10 and accounting for his biggest sales week ever. In 2014, the guitarist received his first-ever Grammy nomination (for Best Blues Album) for the album Seesaw, his second collaboration with blues singing star Beth Hart, and was named 2014's Billboard Blues Artist of the Year.

1. This Train 2. Mountain Climbing3. Drive4. No Good Place For The Lonely5. Blues Of Desperation6. The Valley Runs Low7. You Left Me Nothin' But The Bill And The Blues8. Distant Lonesome Train9. How Deep This River Runs10. Livin' Easy11. What I've Known For A Very Long Time

American Folk Blues Festival 1964 (Pure Pleasure)

German jazz publicist Joachim-Ernst Berendt first had the idea of bringing original African-American blues performers to Europe. Jazz had become very popular, and rock and roll was just gaining a foothold, and both genres drew influences directly back to the blues. Berendt thought that European audiences would flock to concert halls to see them in person.

Promoters Horst Lippmann and Fritz Rau brought this idea to reality. By contacting Willie Dixon, an influential blues composer and bassist from Chicago, they were given access to the blues culture of the southern United States. The first festival was held in 1962, and they continued almost annually until 1972, after an eight-year hiatus reviving the festival in 1980 until its final performance in 1985.The concerts featured some of the leading blues artists of the 1960s, such as Muddy Waters, Howlin' Wolf, Willie Dixon, John Lee Hooker and Sonny Boy Williamson along with blues legends from an earlier period such as Sleepy John Estes, John Henry Barbee & Lightnin' Hopkins.

Attendees at Manchester in 1962, the first ever venue for the festival in Britain, included Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. Subsequent attendees at the first London festivals are believed to have also included such influential musicians as Eric Burdon, Eric Clapton, and Steve Winwood. Collectively these were the primary movers in the blues explosion that would lead to the British Invasion.

Musicians:

Sonny Boy Williamson (vocal, harpsichord)

Hubert Sumlin (guitar)

Willie Dixon (bass)

Clifton James (drums)

Sunnyland Slim (vocal, piano)

Sam Lightnin' Hopkins, Howlin' Wolf (guitar, vocal)

Hammie Nixon (harpsichord, jug)

Recording: October 1964 live at Musikhalle Hamburg, Germany, by Peter Kramper

Production: Siegfried E. Loch

About Pure Pleasure

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

1. I'm Trying To Make London My Home2. Dissatisfied3. Everytime I Get To Drinkin'4. Ain't It A Pity5. Baby Please Don't Go6. I'm A Tearing Little Daddy7. Cotton Pickin' Blues8. No Title Boogie9. Slip In Mules10. Dust My Broom

Universal is set to release the complementary OST to the new Eric Clapton documentary, Life In 12 Bars. From Showtime Documentary Films and directed by Oscar-winner, Lili Fini Zanuck, the film takes an unflinching and deeply personal look into the life of the legendary 18-time Grammy Award-winning guitarist and multi-million selling recording artist.

The OST, available as a 4-LP, comprises 32 tracks spanning Clapton's long and illustrious career. It includes tracks by The Yardbirds, John Mayall's Bluesbreakers, Cream, Blind Faith, Derek and the Dominos, The Beatles, Aretha Franklin, Muddy Waters and Clapton's solo work.

Of the 32 featured there are five previously unreleased tracks:

From the Cream era there is a version of Spoonful, an incredible 17-minute tour-de-force, recorded live at the LA Forum in October 1968 during the group's final US, Goodbye tour. There are two from Derek and The Dominos - firstly a recording of High, originally recorded during the 1971 sessions at Olympic Studios for their unreleased 2nd album. This track was later revisited and re-recorded for Eric Clapton's 1975 album, There's One In Every Crowd. Secondly, the track Little Wing, a tribute to Jimi Hendrix, recorded live during the Domino's late set at The Fillmore East on October 24th, 1970. Finally, there are two previously unreleased Eric Clapton tracks from 1974; the first ever release of the entire full-length recording of the international hit version of Bob Marley's I Shot The Sheriff, recorded during the sessions for 461 Ocean Boulevard and a live performance of Little Queenie, the Chuck Berry rock 'n' roll classic, recorded at Long Beach Arena, California in July 1974 during Clapton's comeback tour to promote 461 Ocean Boulevard.

In addition, there are two alternative mixes made for Eric Clapton's 1970 debut album. Separate mixes were made for the album, by Delaney Bramlett and Tom Dowd (in LA) and also by Clapton himself (in London). Featured in this collection are Clapton's rare mixes of album highlights, After Midnight and Let It Rain.

From the Cradle

The full-tilt blues album that Clapton had been promising for years, From the Cradle proves the guitarist's enduring devotion to a form he had long relegated to merely a flavor in his music rather than the main ingredient. Clapton's singing on the album is somewhat mannered; he tries to compete with original versions of these songs by Muddy Waters, Charles Brown, and others, and there's no way he's going to win that battle. Still, you can feel the emotional connection Clapton has with these songs, and guitar aficionados will swoon over his fretwork on songs such as Third Degree, Someday After a While, and the incendiary Groanin' the Blues. --Daniel Durchholz

Me And Mr. Johnson

On Me And Mr. Johnson, Eric Claptoncovers 14 of the 29 songs Robert Johnson,the most mythic figure of the blues, wroteand recorded in his lifetime. For fans ofdeep blues, it doesn't get any better thanthis. After the success of Clapton's firsttwo traditional blues albums-1994's Grammy®-winning triple-platinum, #1 pop FromThe Cradle, and 2000's Grammy-winning,double-platinum, #3-charting Riding WithThe King collaboration with B.B. King-MeAnd Mr. Johnson finds Claptononcemore at the crossroads of blues and rock.

Old Sock

Old Sock marks the 21st solo studio album for the guitar legend, and is released on the Bushbranch Records label, a branch of Surfdog. This double LP also includes a download card.

On the heels of a sold-out Crossroads Guitar Festival and the announcement of a major world tour, Eric Clapton announced the release of his 21st studio album and his first album since 2010. The album, Old Sock produced by Eric Clapton, Doyle Bramhall II, Justin Stanley and Simon Climie, features two original songs Every Little Thing and Gotta Get Over. Old Sock is released on Clapton s Bushbranch label, distributed through a collaboration with Surfdog Records in the USA and Canada.

The album is a collection of some of Clapton's favorite songs spanning from his childhood to present day that highlights his vast appreciation and knowledge of music. From Leadbelly to J.J. Cale; Peter Tosh to George Gershwin; Hank Snow to Gary Moore and Taj Mahal, this record is a celebration of so many who have inspired Clapton s rich musical life. Clapton has always had a remarkable ability to recognize great songs and a gift for knowing how to uniquely interpret them, as he does on Old Sock. The album explores romantic standards of the 30's, reggae, soul, rock, and includes a stand out playful collaboration with Paul McCartney, to create an experience that is quintessential Clapton.

Clapton assembled a band for the recordings consisting of longtime collaborators Steve Gadd (drums), Willie Weeks (bass) and Chris Stainton (keyboards) along with some surprise guest additions. JJ Cale joins the song Angel for backing vocals and guitar, Chaka Khan joins as backing vocalist for Get On Over, Steve Winwood on the Hammond B3 Organ on Still Got The Blues, Paul McCartney on bass/vocals on All of Me, Jim Keltner on drums for Our Love is Here To Stay.

1. Further On Down The Road2. Angel3. Every Little Thing4. The Folks Who Live On The Hill5. Born To Lose6. Till Your Well Runs Dry7. All Of Me8. Still Got The Blues9. Good Night Irene10. Gotta Get Over11. Your One And Only Man12.Our Love Is Here To Stay

Follow us

Coupon Code: LP20

20% Off Vinyl

Cannot be combined with any other offers
Cannot be applied to previous orders
"On Sale", Bends, and titles marked "This title is not eligible for discount" excluded.
Some audio equipment not eligible for discount, please call for details (1-877-929-8729)